Top 100 Music Albums of the 2010s by 
FlorianJones 
Anything with a write-up was in my top 50 at the end of the decade, in December of 2019.
As of today (June 14, 2022), 6 of those original top 50 have dropped into 51-100. None of them have dropped off the list entirely.
- Chart updated: 06/14/2022 23:15
- (Created: 11/26/2014 05:57).
- Chart size: 100 albums.
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Top Tracks: Endors Toi, Music To Walk Home By, Nothing That Has Happened So Far Has Been Anything We Could Control
It only takes a quick look at the liner notes for Lonerism to make perfect sense. “All songs written, produced, & recorded by Kevin Parker”…“All vocals & instruments performed by Kevin Parker”…“Recorded at home between 2010 & 2012”…“Cover photo by KP.” None of this should come as a surprise from the man whose debut album standout bore the title Solitude is Bliss. Kevin took what worked best from Innerspeaker, and he expanded upon it, delving deep into the reality of a loner. Crucial to this sentiment is that, while others might run with a title like loneliness, this album is Lonerism. There is loneliness here to be sure, but it’s more multifaceted than that, because surely the author of Solitude is Bliss knows there’s more to being alone than pure self-pity.
Lonerism finds Parker coming to grips with the effects of his self-isolating tendencies. He touches on his romantic struggles in the penultimate Nothing That Has Happened So Far Has Been Anything We Could Control by referring to his fighting and eventual split from then girlfriend Melody Prochet. On Why Won’t They Talk To Me Kevin vacillates between longing for social engagement and deciding he’s better alone as he falls prey to his own self-aggrandizing ego. These are the lyrics of a man realizing that he possibly oversimplified things a couple years back. This isn’t merely a lyrical realization either, because Lonerism also expands on the sound of debut album Innerspeaker. Innerspeaker thrived on Kevin’s ear for tight traditional verse chorus verse song structures. Lonerism hones in on those talents when necessary as on the commercially ubiquitous Elephant, but it also finds Kevin expanding Tame Impala’s sound outward. Instead of riveting the listener with concision, Lonerism opts to envelop the listener with grandeur. It’s an album replete with bombastic breaks and indulgent outros. Kevin loosens the structure, but he never loses sight of the meticulous planning that made his debut great. [First added to this chart: 01/20/2015]
It only takes a quick look at the liner notes for Lonerism to make perfect sense. “All songs written, produced, & recorded by Kevin Parker”…“All vocals & instruments performed by Kevin Parker”…“Recorded at home between 2010 & 2012”…“Cover photo by KP.” None of this should come as a surprise from the man whose debut album standout bore the title Solitude is Bliss. Kevin took what worked best from Innerspeaker, and he expanded upon it, delving deep into the reality of a loner. Crucial to this sentiment is that, while others might run with a title like loneliness, this album is Lonerism. There is loneliness here to be sure, but it’s more multifaceted than that, because surely the author of Solitude is Bliss knows there’s more to being alone than pure self-pity.
Lonerism finds Parker coming to grips with the effects of his self-isolating tendencies. He touches on his romantic struggles in the penultimate Nothing That Has Happened So Far Has Been Anything We Could Control by referring to his fighting and eventual split from then girlfriend Melody Prochet. On Why Won’t They Talk To Me Kevin vacillates between longing for social engagement and deciding he’s better alone as he falls prey to his own self-aggrandizing ego. These are the lyrics of a man realizing that he possibly oversimplified things a couple years back. This isn’t merely a lyrical realization either, because Lonerism also expands on the sound of debut album Innerspeaker. Innerspeaker thrived on Kevin’s ear for tight traditional verse chorus verse song structures. Lonerism hones in on those talents when necessary as on the commercially ubiquitous Elephant, but it also finds Kevin expanding Tame Impala’s sound outward. Instead of riveting the listener with concision, Lonerism opts to envelop the listener with grandeur. It’s an album replete with bombastic breaks and indulgent outros. Kevin loosens the structure, but he never loses sight of the meticulous planning that made his debut great. [First added to this chart: 01/20/2015]
Year of Release:
2012
Appears in:
Rank Score:
16,815
Rank in 2012:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
18414. (23) 
9
9
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Top Tracks: We Know Who U R, Jubilee Street, Higgs Boson Blues
The recent release of Nick Cave & The Bad Seeds’ Ghosteen is said to be the conclusion of a trilogy, a trilogy that started six years ago with Push The Sky Away. Treating albums as a trilogy is an intriguing concept – a concept that feels both cinematic and literary. Those traits are fitting for Cave, a renaissance man most well known for music, who also has extensive experience in cinema and literature. To a degree, the trilogy was derailed after tragedy befell Cave’s family, leaving the ghost of his late son hanging over the Skeleton Tree and Ghosteen. Push The Sky Away is a predominantly bleak affair (most Bad Seeds albums are), but in comparison to its successors, it feels almost playful. Cave has an incomparable knack for making profound statements that on initial glance read as a joke, and that’s on full display in Push The Sky Away. Nick Cave always sounds divorced from time, so when he pulls in such distinctly contemporary reference points as Wikipedia or Hannah Montana, it catches the listener off guard. It’s almost unnerving, and it feels like the only response is to laugh a little. There’s no one else that can do this the way Cave can.
What slight hint of levity there is on Push The Sky Away is understandably lost on the other albums in the trilogy, but they still feel connected by their aesthetic similarities. Each of these three albums is progressively more minimal than the last. The extremes this is taken to on Ghosteen seem logical given the spoken word nature of Cave’s grieving, but that path was set long before he had reason to grieve. The nine songs on Push The Sky Away have flourishes here and there, but in each case, the song is driven by a steady and unwavering backbone right from the start. These very skeletal foundations are slow, and often quiet, but heavy with inertia. It feels as though they’re backed by the unstoppable weight of a freight train. It takes confidence to leave something like that alone. It’d be an easy thing to underestimate, but building too much on top would quickly degrade the structural elegance. Cave delivers these simple pieces with aplomb. Once again, he makes work unlike anyone else, because he is unlike anyone else. [First added to this chart: 06/22/2017]
The recent release of Nick Cave & The Bad Seeds’ Ghosteen is said to be the conclusion of a trilogy, a trilogy that started six years ago with Push The Sky Away. Treating albums as a trilogy is an intriguing concept – a concept that feels both cinematic and literary. Those traits are fitting for Cave, a renaissance man most well known for music, who also has extensive experience in cinema and literature. To a degree, the trilogy was derailed after tragedy befell Cave’s family, leaving the ghost of his late son hanging over the Skeleton Tree and Ghosteen. Push The Sky Away is a predominantly bleak affair (most Bad Seeds albums are), but in comparison to its successors, it feels almost playful. Cave has an incomparable knack for making profound statements that on initial glance read as a joke, and that’s on full display in Push The Sky Away. Nick Cave always sounds divorced from time, so when he pulls in such distinctly contemporary reference points as Wikipedia or Hannah Montana, it catches the listener off guard. It’s almost unnerving, and it feels like the only response is to laugh a little. There’s no one else that can do this the way Cave can.
What slight hint of levity there is on Push The Sky Away is understandably lost on the other albums in the trilogy, but they still feel connected by their aesthetic similarities. Each of these three albums is progressively more minimal than the last. The extremes this is taken to on Ghosteen seem logical given the spoken word nature of Cave’s grieving, but that path was set long before he had reason to grieve. The nine songs on Push The Sky Away have flourishes here and there, but in each case, the song is driven by a steady and unwavering backbone right from the start. These very skeletal foundations are slow, and often quiet, but heavy with inertia. It feels as though they’re backed by the unstoppable weight of a freight train. It takes confidence to leave something like that alone. It’d be an easy thing to underestimate, but building too much on top would quickly degrade the structural elegance. Cave delivers these simple pieces with aplomb. Once again, he makes work unlike anyone else, because he is unlike anyone else. [First added to this chart: 06/22/2017]
Year of Release:
2013
Appears in:
Rank Score:
2,733
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Jesus Alone, Rings of Saturn, Distant Sky
Death has often found itself at the center of Nick Cave’s work. As far as I can tell, there’s never been much rhyme or reason to this repeated motif (beyond a presumably innate fascination with death) that is, until Skeleton Tree. In July of 2015, Cave’s fifteen-year-old son Arthur stumbled off a cliff to his death. While these eight songs were written before this tragedy, several ad-libs and overdubs were recorded in the aftermath, and there’s no denying the shadow Arthur’s passing casts over the proceedings. Many of Nick Cave’s dreariest works are notable for savage and unruly characters rendered through guttural howls. Here his vocals spill listlessly over the music. He is consumed by grief. Both musically and lyrically, Skeleton Tree is awash with an unsettling sorrow, but not entirely without redemption. The penultimate Distant Sky is a much needed spot of warmth. The harrowing duet seems to frame the characters as a husband and wife pushing forward in search of peace, leading to the closing line “Soon the children will be rising, will be rising. This is not for our eyes.” The lyric is ambiguous, but Cave’s female accompaniment lends it an air of hopeful confidence. [First added to this chart: 06/22/2017]
Death has often found itself at the center of Nick Cave’s work. As far as I can tell, there’s never been much rhyme or reason to this repeated motif (beyond a presumably innate fascination with death) that is, until Skeleton Tree. In July of 2015, Cave’s fifteen-year-old son Arthur stumbled off a cliff to his death. While these eight songs were written before this tragedy, several ad-libs and overdubs were recorded in the aftermath, and there’s no denying the shadow Arthur’s passing casts over the proceedings. Many of Nick Cave’s dreariest works are notable for savage and unruly characters rendered through guttural howls. Here his vocals spill listlessly over the music. He is consumed by grief. Both musically and lyrically, Skeleton Tree is awash with an unsettling sorrow, but not entirely without redemption. The penultimate Distant Sky is a much needed spot of warmth. The harrowing duet seems to frame the characters as a husband and wife pushing forward in search of peace, leading to the closing line “Soon the children will be rising, will be rising. This is not for our eyes.” The lyric is ambiguous, but Cave’s female accompaniment lends it an air of hopeful confidence. [First added to this chart: 06/22/2017]
Year of Release:
2016
Appears in:
Rank Score:
4,597
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Because I’m Me, The Noisy Eater, Live A Lifetime Love
There was no precedent for what an Avalanches album would sound like in 2016. When they put out their debut album Since I Left You back in 2000 the music landscape was an entirely different world. That album is said to contain somewhere between three-thousand to four-thousand distinct samples, a number that just sixteen years later would be an unapproachable nightmare to navigate the minefield of sample clearance laws for. So, while we knew what the Avalanches used to sound like, they would certainly sound different upon the arrival of their hotly anticipated follow-up. And yet, the shift in copyright law seemingly had very little effect on the resultant Wildflower. They still managed to clear some totally bonkers samples (The Sound of Music and The Beatles immediately come to mind) and according to the band, the sample count may be higher here than it was on Since I Left You. No, the largest difference it turns out, is the plentiful array of features. Since I Left You always felt small – not sonically, where it was larger than life, but deep in its very nature. That album was the dedicated work of a small collective of creatives, detached from the rest of the industry in the best possible way, like a time capsule from an alternate reality. Wildflower in contrast, is a community affair. It’s a wild and boisterous shipload of collaborators with The Avalanches at the helm. It inevitably doesn’t have that same otherworldly quality about it, but that’s a good thing. With Since I Left You being the single most unimpeachable classic of the plunderphonics genre it would’ve been an egregious error to attempt recreating its every trait. Wildflower needed to be different to stand up on its own merit, and that’s exactly what it does. Wildflower is an all new Avalanches classic. [First added to this chart: 12/16/2016]
There was no precedent for what an Avalanches album would sound like in 2016. When they put out their debut album Since I Left You back in 2000 the music landscape was an entirely different world. That album is said to contain somewhere between three-thousand to four-thousand distinct samples, a number that just sixteen years later would be an unapproachable nightmare to navigate the minefield of sample clearance laws for. So, while we knew what the Avalanches used to sound like, they would certainly sound different upon the arrival of their hotly anticipated follow-up. And yet, the shift in copyright law seemingly had very little effect on the resultant Wildflower. They still managed to clear some totally bonkers samples (The Sound of Music and The Beatles immediately come to mind) and according to the band, the sample count may be higher here than it was on Since I Left You. No, the largest difference it turns out, is the plentiful array of features. Since I Left You always felt small – not sonically, where it was larger than life, but deep in its very nature. That album was the dedicated work of a small collective of creatives, detached from the rest of the industry in the best possible way, like a time capsule from an alternate reality. Wildflower in contrast, is a community affair. It’s a wild and boisterous shipload of collaborators with The Avalanches at the helm. It inevitably doesn’t have that same otherworldly quality about it, but that’s a good thing. With Since I Left You being the single most unimpeachable classic of the plunderphonics genre it would’ve been an egregious error to attempt recreating its every trait. Wildflower needed to be different to stand up on its own merit, and that’s exactly what it does. Wildflower is an all new Avalanches classic. [First added to this chart: 12/16/2016]
Year of Release:
2016
Appears in:
Rank Score:
1,497
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 01/20/2015]
Year of Release:
2010
Appears in:
Rank Score:
4,758
Rank in 2010:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 08/10/2015]
Year of Release:
2015
Appears in:
Rank Score:
10,569
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 6. Page 1 of 1
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Top 100 Music Albums of the 2010s composition
| Year | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| 2010 | 11 | 11% | |
| 2011 | 6 | 6% | |
| 2012 | 7 | 7% | |
| 2013 | 5 | 5% | |
| 2014 | 9 | 9% | |
| 2015 | 15 | 15% | |
| 2016 | 13 | 13% | |
| 2017 | 12 | 12% | |
| 2018 | 7 | 7% | |
| 2019 | 15 | 15% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Kendrick Lamar | 4 | 4% | |
| Tame Impala | 3 | 3% | |
| Frank Ocean | 3 | 3% | |
| Tyler, The Creator | 2 | 2% | |
| Car Seat Headrest | 2 | 2% | |
| Nick Cave & The Bad Seeds | 2 | 2% | |
| Vince Staples | 2 | 2% | |
| Show all | |||
Top 100 Music Albums of the 2010s chart changes
| Biggest climbers |
|---|
| Up 41 from 52nd to 11th Black Up by Shabazz Palaces |
| Up 34 from 82nd to 48th Reflections by Hannah Diamond |
| Up 26 from 99th to 73rd Moth by Chairlift |
| Biggest fallers |
|---|
| Down 35 from 26th to 61st Pom Pom by Ariel Pink |
| Down 28 from 21st to 49th The Age Of Adz by Sufjan Stevens |
| Down 24 from 48th to 72nd Benji by Sun Kil Moon |
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FlorianJones (2020)Top 100 Music Albums of the 2010s ratings
87/100 (from 6 votes)
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Showing latest 5 ratings for this chart. | Show all 6 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 95/100  | 02/17/2018 15:30 |  Davy | | 87/100 |
| 85/100 | 06/28/2017 17:14 | weston | | 87/100 |
| 100/100 | 02/20/2017 19:20 | Seab | | 93/100 |
| 70/100 | 06/01/2015 22:53 |  Applerill | | 75/100 |
| 95/100 | 04/15/2015 13:21 |  andy_hunter | | 88/100 |
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85/100
From weston 06/28/2017 17:15
Nice! I agree 2015 was the strongest year so are. And I like the stuff you've thrown at the end.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
From 
SaulCortes1992 04/02/2015 20:04
SaulCortes1992 04/02/2015 20:04
Excellent Chart!
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| Best Artists of the 1970s | |
|---|---|
| 1. Pink Floyd | |
| 2. David Bowie | |
| 3. Led Zeppelin | |
| 4. Neil Young | |
| 5. The Rolling Stones | |
| 6. The Clash | |
| 7. Fleetwood Mac | |
| 8. Black Sabbath | |
| 9. The Who | |
| 10. Genesis | |
| 11. Stevie Wonder | |
| 12. Bob Dylan | |
| 13. Paul McCartney | |
| 14. Yes | |
| 15. Bruce Springsteen | |
| 16. Joni Mitchell | |
| 17. Bob Marley | |
| 18. Nick Drake | |
| 19. Joy Division | |
| 20. Queen |